Oxford University Press's
Academic Insights for the Thinking World
As adults, we remain fascinated with images of young children performing extraordinary feats, with platforms such as YouTube offering us an unending wealth of mini Mozarts and baby Einsteins for us to feast our eyes and ears on, and providing the perfect fodder for our daily Facebook feeds. We are filled with awe at the sight of such small individuals undertaking tasks that most adults only dream of undertaking.
Affekt (the ability of music to stir emotions) is the foundational pillar for eighteenth-century style. It was achieved through attention to detail and proper execution. And done in good taste, which implies a deep understanding of proper practices of the time. Nearly every notational and performance decision was based on affekt—everything from formal structure to note values, dynamics to articulation, and accompaniment patterns such as Alberti bass.
If you tuned in to this year’s Grammy awards, you would not have failed to witness the extraordinary performance of 12-year-old jazz pianist Joey Alexander. The short solo performance, which earned him a standing ovation, was without doubt the cherry on the cake of this young musician’s short but remarkable career thus far.
Spectacle at its grandest has long been crucial to the Eurovision Song Contest’s projection of its own importance for Europe and, increasingly in the past two decades, a unified Europe’s position in the world. Each year’s competition outstrips that of the year before, as song styles multiply and nations are added to the spectacle of nation competing against nation with the hope of representing Europe musically to the world.
With the exception of Kid A/Amnesiac, Radiohead has reinvented itself sonically on every album since OK Computer. Saying that a new release represents a departure from their previous style is therefore paradoxical—the only possible departure would be non-departure.
This week, the 61st Eurovision Song Contest, more affectionately Eurovision, will be broadcast to a global audience (including for the first-time a live telecast in the United States) with 42 countries competing in a series of semi-finals before the final, live show on 14 May. Established in 1956 as part of the then-fledgling European Broadcast Union, the contest has continued to grow in popularity and some would argue in cultural significance.
Tango is a multidimensional art form including music, dance and poetry. It grew out of the confluence of cultures in the Río de la Plata region in South America and has since had over a century-long history. Here are ten things that you might not know about Argentine tango music.
Any American can recognize the opening notes of “Stars and Stripes Forever” and that most essential instrument of the American marching band — the sousaphone. How did this 30 pound beauty come to be? Despite its relative youth, the sousaphone has an extensive (and sometimes controversial) history.
On every Saturday or Sunday of the year, if you know where to go, you will find people in the United States, Canada, even Europe singing from an oblong red-brown book called The Sacred Harp.
Prince died Thursday, and I am sad. I’ve been asked to write about his death, but staring at the empty expanse beyond the flashing cursor, all I really know how to say is in the line above. Plenty of writers, more ably than I could, have written and spoken movingly about Prince since his death.
The organ is a complex, powerful instrument. Its history is involved and wide-ranging, and throughout the years it has commanded respect as it leaves its listeners in awe. To celebrate the organ, we compiled a list of 10 facts you may or may not know about this magnificent instrument.
I am recently returned home (Australia) from six months on a music research project in Cambodia. There were, of course, the practical challenges of the type I quite expected. In the monsoonal downpours, getting around in central Phnom Penh meant wading through knee-deep, dead-rat kind of drain-water. In the thatched huts of the provinces, malarial critters droned their way under my net by night. Gastro and heat exhaustion laid me flat.
The story of four teenagers on a quest to locate their ailing musical idol requires a mix of nostalgia, myth, apathy and disillusionment. Played out across the vast urban expanse that is the City of Mexico, Güeros is conceived in the alternative deadpan style of Jim Jarmusch’s early films or, perhaps, Wim Wenders’ mid-1970s road movie triology.
Most entries to the Eurovision song contest are frothy pop tunes, but this year’s contribution from Ukraine addresses Stalin’s deportation of the entire Tatar population of Crimea in May 1944. It may seem an odd choice, but is actually very timely if we dig a little into the history of mass repression and inter-ethnic tensions in the region. Almost a quarter of a million Tatars, an ethnically Turkic people indigenous to the Crimea, were moved en masse to Soviet Central Asia as a collective punishment for perceived collaboration with the Nazis.
Richard Causton’s studies took him from the University of York via the Royal College of Music and the Scuola Civica in Milan, to King’s College, Cambridge where he is Lecturer in Composition. In addition to composition, Causton writes and lectures on Italian contemporary music and regularly broadcasts for Italian radio. In our occasional series, in which we ask Oxford composers questions based around their musical likes and dislikes, influences, and challenges, we spoke with Richard Causton about his writing, new music, and his desert island playlist.
In a brief scene in the 1931 Warner Bros. horror film, Svengali, an aging heiress takes voice lessons, falls in love with her teacher, and upon finding her love unrequited and her voice uninspired, throws herself in the river. That the film hastily banishes her for these infractions isn’t much of a surprise, for we don’t tend to remember bad voices, nor do we dwell on older women who would dare possess them. In fact, were it up to Hollywood, we’d hardly dwell on older women at all.